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OverviewSince Hegel, the idea of an end of art has become a staple of aesthetic theory. This book analyzes its role and its rhetoric in Hegel, Nietzsche, Benjamin, Adorno, and Heidegger in order to account for the topic's enduring persistence. In addition to providing a general overview of the main thinkers of post-Idealist German aesthetics, the book explores the relationship between tradition and modernity. For despite the differences that distinguish one philosopher's end of art from another's, all authors treated here turn the end of art into an occasion to thematize and to reflect on the very thing that modernism cannot or should not be: tradition. As a discourse, the end of art is one of our modern traditions. Full Product DetailsAuthor: Eva Geulen , James McFarlandPublisher: Stanford University Press Imprint: Stanford University Press Dimensions: Width: 15.20cm , Height: 1.20cm , Length: 22.90cm Weight: 0.299kg ISBN: 9780804744249ISBN 10: 0804744246 Pages: 216 Publication Date: 11 September 2006 Audience: College/higher education , Professional and scholarly , Undergraduate , Postgraduate, Research & Scholarly Format: Paperback Publisher's Status: Active Availability: In Print  This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of Contents@fmct:Contents @toc2:1 Introduction: The End in the Meantime 000 2 Hegel without End 000 3 Nietzsche's Backward Motion 000 4 Counter Play: Benjamin 000 5 Endgame: Adorno 000 6 The Same End and the Other Beginning: Heidegger 000 7 That Mysterious Yearning toward the Chasm 000ReviewsGeulen's rich and rewarding inquiry into modern German aesthetics never loses sight of a single question: not why is art at its end? but rather why is there a compulsion to say art has come to an end? By seeking the genesis and structure of this compulsion, Geulen provides a major reassessment of the paradoxical tradition of aesthetic reflection that takes its point of departure from Hegel's difficult pronouncement that the age of great art has come to a close. --Peter Fenves, Northwestern University Geulen's book succeeds in bringing new significance, renewed continuity, and robust meaning to a large portion of this endlessly productive tradition. --xNotre Dame Philosophical Reviews Geulen's rich and rewarding inquiry into modern German aesthetics never loses sight of a single question: not why is art at its end? but rather why is there a compulsion to say art has come to an end? By seeking the genesis and structure of this compulsion, Geulen provides a major reassessment of the paradoxical tradition of aesthetic reflection that takes its point of departure from Hegel's difficult pronouncement that the age of great art has come to a close. --Peter Fenves, Northwestern University ""Geulen's book succeeds in bringing new significance, renewed continuity, and robust meaning to a large portion of this endlessly productive tradition."" - xNotre Dame Philosophical Reviews ""Geulen's rich and rewarding inquiry into modern German aesthetics never loses sight of a single question: not ""why is art at its end?"" but rather ""why is there a compulsion to say art has come to an end?"" By seeking the genesis and structure of this compulsion, Geulen provides a major reassessment of the paradoxical tradition of aesthetic reflection that takes its point of departure from Hegel's difficult pronouncement that the age of great art has come to a close."" - Peter Fenves, Northwestern University Author InformationAfter having taught German for many years in the United States, most recently at New York University, Eva Geulen now teaches German at the University of Bonn, Germany. She is the author of German-language books on Adalbert Stifter (2002) and Giorgio Agamben (2005). Tab Content 6Author Website:Countries AvailableAll regions |
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